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"title": "Guo Pei's Fashion at the Legion of Honor Dazzles in a Merger of East and West",
"headTitle": "Guo Pei’s Fashion at the Legion of Honor Dazzles in a Merger of East and West | KQED",
"content": "\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco",
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"headTitle": "PHOTOS: The Soapbox Derby’s Wild Downhill Action in San Francisco | KQED",
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"content": "\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>[aside postID='news_11910363']This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "See photos from the Soapbox Derby's grand return to McLaren Park, and its colorful, creative cars. ",
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"title": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco | KQED",
"description": "See photos from the Soapbox Derby's grand return to McLaren Park, and its colorful, creative cars. ",
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"headline": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "From Tumblrcore to 2014core, the Nostalgia Loop is Getting Smaller and Faster",
"headTitle": "From Tumblrcore to 2014core, the Nostalgia Loop is Getting Smaller and Faster | KQED",
"content": "\u003cp>Some recent fashion trends make sense. Take what’s currently being called \u003ca href=\"https://www.whowhatwear.com/y2k-fashion\" target=\"_blank\" rel=\"noopener noreferrer\">the Y2K aesthetic\u003c/a> of wide-leg jeans, aggressive pink and metallic fabrics—a throwback to style sensibilities of the late ’90s and early 2000s.\u003c/p>\n\u003cp>Fashion moves in twenty year cycles, or so conventional wisdom has it, when tastemakers get nostalgic for their childhoods. For example, 1970s pop culture, resurrected the 1950s in the form of TV shows \u003cem>Happy Days \u003c/em>and \u003cem>M*A*S*H\u003c/em> and the musical \u003cem>Grease\u003c/em>. And twenty years after that, the 1990s witnessed a return to 1970s-style singer-songwriters, such as Juliana Hatfield and PJ Harvey, and an \u003ca href=\"https://www.youtube.com/watch?v=f9ymhfB5nys\" target=\"_blank\" rel=\"noopener noreferrer\">era-defining cover\u003c/a> of Cat Stevens’ 1971 song “Peace Train.”\u003c/p>\n\u003cfigure id=\"attachment_13909910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1920x2878.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-scaled.jpg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the Tom Ford spring/summer 2022 fashion show at Lincoln Center during New York Fashion Week on Sunday, Sept. 12, 2021. \u003ccite>(AP Photo/Eduardo Munoz Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nostalgia loop has sped up. “So much faster than twenty years,” says Rebecca Jennings, \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">a senior correspondent for \u003cem>Vox\u003c/em>\u003c/a> \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">who covers internet culture \u003c/a>. Jennings points to TikTok \u003ca href=\"https://www.tiktok.com/@makeup/video/7016708053772864773?is_copy_url=1&is_from_webapp=v1&q=2016%20makeup&t=1645026345837\" target=\"_blank\" rel=\"noopener noreferrer\">videos nostalgic for makeup trends dating all the way back to… 2016\u003c/a>, when makeup artist Mario Dedivanovic was busy breaking the internet by contouring Kim Kardashian’s cheekbones and dramatically boxing her brows. Or look, Jennings says, to \u003ca href=\"https://www.teenvogue.com/story/wired-headphones-2021-it-accessory\" target=\"_blank\" rel=\"noopener noreferrer\">last year’s much-hyped vogue for wired headsets\u003c/a>, a vintage accessory dating all the way back to before the advent of wireless ear buds—around 2015.\u003c/p>\n\u003cp>“When the kids on the internet are talking about like 2014core or tumblr fashion, what they’re talking about is the stuff that semi-alternative kids were lusting over at that time,” Jennings explains. Stuff like Lana Del Rey, Arctic Monkeys and tiny, Lolita-esque tennis skirts, all of which can be found in abundance on HBO’s hit \u003cem>Euphoria.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg\" alt=\"A young woman with black hair and bold green eyeshadow leans on a pink bathroom stall. She's wearing a green sweater with a black and white Cramps T-shirt underneath, paired with a skin tight black, red and grey skirt.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161.jpg 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbie Ferreira as Kat Hernandez in the HBO show ‘Euphoria.’. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the show, Alysha Cassis-Shaw wondered, “What year are we in? 2000? 2005?” The owner of the Oakland-based vintage brand called \u003ca href=\"https://www.shopneutralground.com/pages/about\">Neutral Ground\u003c/a> describes \u003cem>Euphoria\u003c/em>‘s style as bewitching but disorienting: it borrows from the style of early ’90s Paris Hilton and Britney Spears to the ubiquitous Peter Pan collars of 2009 to the high waisted pants that were in until, well, very recently—and already may be making a comeback.\u003c/p>\n\u003cfigure id=\"attachment_13909919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png\" alt=\"A girl wearing a skin-tight denim pinafore dress talks to a girl wearing a soft and skimpy pink and blue take on the classic Chanel suit.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1536x953.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Season two of HBO’s hit Euphoria continued with a contemporary approach to fashion somehow both curated and a hodgepodge of trends. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are contemporary kids using a hodgepodge of styles,” Cassis-Shaw says. You don’t have to have a lot of money, she notes, to shop from resale outlets like ThredUp, stuffed with two decades of fast fashion cycling in and out of style, all of which can be studied on Instagram. And when you can so easily consume “vintage” clothes from H&M or Delia’s, the ingredients are in place for what writer Allison P. Davis memorably called \u003ca href=\"https://www.thecut.com/2022/02/a-vibe-shift-is-coming.html\" target=\"_blank\" rel=\"noopener noreferrer\">a “vibe shift” in a recent article for \u003cem>New York \u003c/em>magazine\u003c/a>. Normal rhythms of trends and style get scrambled by the hectic churn of social media.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13905720']“TikTok has a weird way of making every single thing in style at once,” notes Rebecca Jennings. “You can go to any corner of the app and something will be considered cool.”\u003c/p>\n\u003cp>Right now, she adds, it’s easy to be nostalgic for the days before COVID. Some young people are even nostalgic for the early days of the pandemic, \u003ca href=\"https://www.tiktok.com/@0good_old_days0/video/7054643453900246318?is_copy_url=1&is_from_webapp=v1&q=nostalgia%202020&t=1645554473821\" target=\"_blank\" rel=\"noopener noreferrer\">making TikToks like this one\u003c/a>, looking back fondly at \u003cem>Tiger King\u003c/em>, \u003cem>Animal Crossing\u003c/em> and making sourdough bread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You know, way back before a new set of anxieties about the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Tumblrcore+to+2014core%2C+the+nostalgia+loop+is+getting+smaller+and+faster&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some recent fashion trends make sense. Take what’s currently being called \u003ca href=\"https://www.whowhatwear.com/y2k-fashion\" target=\"_blank\" rel=\"noopener noreferrer\">the Y2K aesthetic\u003c/a> of wide-leg jeans, aggressive pink and metallic fabrics—a throwback to style sensibilities of the late ’90s and early 2000s.\u003c/p>\n\u003cp>Fashion moves in twenty year cycles, or so conventional wisdom has it, when tastemakers get nostalgic for their childhoods. For example, 1970s pop culture, resurrected the 1950s in the form of TV shows \u003cem>Happy Days \u003c/em>and \u003cem>M*A*S*H\u003c/em> and the musical \u003cem>Grease\u003c/em>. And twenty years after that, the 1990s witnessed a return to 1970s-style singer-songwriters, such as Juliana Hatfield and PJ Harvey, and an \u003ca href=\"https://www.youtube.com/watch?v=f9ymhfB5nys\" target=\"_blank\" rel=\"noopener noreferrer\">era-defining cover\u003c/a> of Cat Stevens’ 1971 song “Peace Train.”\u003c/p>\n\u003cfigure id=\"attachment_13909910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909910\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg\" alt=\"\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-1920x2878.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ap21256083192123_custom-64e1ddd1a041aa4ca3f23caa43cded66a34e539f-scaled.jpg 1708w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models walk the runway at the Tom Ford spring/summer 2022 fashion show at Lincoln Center during New York Fashion Week on Sunday, Sept. 12, 2021. \u003ccite>(AP Photo/Eduardo Munoz Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nostalgia loop has sped up. “So much faster than twenty years,” says Rebecca Jennings, \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">a senior correspondent for \u003cem>Vox\u003c/em>\u003c/a> \u003ca href=\"https://www.vox.com/authors/rebecca-jennings\" target=\"_blank\" rel=\"noopener noreferrer\">who covers internet culture \u003c/a>. Jennings points to TikTok \u003ca href=\"https://www.tiktok.com/@makeup/video/7016708053772864773?is_copy_url=1&is_from_webapp=v1&q=2016%20makeup&t=1645026345837\" target=\"_blank\" rel=\"noopener noreferrer\">videos nostalgic for makeup trends dating all the way back to… 2016\u003c/a>, when makeup artist Mario Dedivanovic was busy breaking the internet by contouring Kim Kardashian’s cheekbones and dramatically boxing her brows. Or look, Jennings says, to \u003ca href=\"https://www.teenvogue.com/story/wired-headphones-2021-it-accessory\" target=\"_blank\" rel=\"noopener noreferrer\">last year’s much-hyped vogue for wired headsets\u003c/a>, a vintage accessory dating all the way back to before the advent of wireless ear buds—around 2015.\u003c/p>\n\u003cp>“When the kids on the internet are talking about like 2014core or tumblr fashion, what they’re talking about is the stuff that semi-alternative kids were lusting over at that time,” Jennings explains. Stuff like Lana Del Rey, Arctic Monkeys and tiny, Lolita-esque tennis skirts, all of which can be found in abundance on HBO’s hit \u003cem>Euphoria.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909911\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg\" alt=\"A young woman with black hair and bold green eyeshadow leans on a pink bathroom stall. She's wearing a green sweater with a black and white Cramps T-shirt underneath, paired with a skin tight black, red and grey skirt.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/barbie-ferreira_1-1bb004f83c58825a15c77340d623245d34341161.jpg 1540w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Barbie Ferreira as Kat Hernandez in the HBO show ‘Euphoria.’. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the show, Alysha Cassis-Shaw wondered, “What year are we in? 2000? 2005?” The owner of the Oakland-based vintage brand called \u003ca href=\"https://www.shopneutralground.com/pages/about\">Neutral Ground\u003c/a> describes \u003cem>Euphoria\u003c/em>‘s style as bewitching but disorienting: it borrows from the style of early ’90s Paris Hilton and Britney Spears to the ubiquitous Peter Pan collars of 2009 to the high waisted pants that were in until, well, very recently—and already may be making a comeback.\u003c/p>\n\u003cfigure id=\"attachment_13909919\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png\" alt=\"A girl wearing a skin-tight denim pinafore dress talks to a girl wearing a soft and skimpy pink and blue take on the classic Chanel suit.\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-800x496.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1020x633.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-768x476.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM-1536x953.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-01-at-1.26.47-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Season two of HBO’s hit Euphoria continued with a contemporary approach to fashion somehow both curated and a hodgepodge of trends. \u003ccite>(Courtesy of HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are contemporary kids using a hodgepodge of styles,” Cassis-Shaw says. You don’t have to have a lot of money, she notes, to shop from resale outlets like ThredUp, stuffed with two decades of fast fashion cycling in and out of style, all of which can be studied on Instagram. And when you can so easily consume “vintage” clothes from H&M or Delia’s, the ingredients are in place for what writer Allison P. Davis memorably called \u003ca href=\"https://www.thecut.com/2022/02/a-vibe-shift-is-coming.html\" target=\"_blank\" rel=\"noopener noreferrer\">a “vibe shift” in a recent article for \u003cem>New York \u003c/em>magazine\u003c/a>. Normal rhythms of trends and style get scrambled by the hectic churn of social media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“TikTok has a weird way of making every single thing in style at once,” notes Rebecca Jennings. “You can go to any corner of the app and something will be considered cool.”\u003c/p>\n\u003cp>Right now, she adds, it’s easy to be nostalgic for the days before COVID. Some young people are even nostalgic for the early days of the pandemic, \u003ca href=\"https://www.tiktok.com/@0good_old_days0/video/7054643453900246318?is_copy_url=1&is_from_webapp=v1&q=nostalgia%202020&t=1645554473821\" target=\"_blank\" rel=\"noopener noreferrer\">making TikToks like this one\u003c/a>, looking back fondly at \u003cem>Tiger King\u003c/em>, \u003cem>Animal Crossing\u003c/em> and making sourdough bread.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You know, way back before a new set of anxieties about the future.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Tumblrcore+to+2014core%2C+the+nostalgia+loop+is+getting+smaller+and+faster&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paris Fashion Week happened last week. The only reason I know this is because every time (the artist formerly known as) Kanye West and his new girlfriend Julia Fox showed up anywhere, Twitter had a meltdown. It wasn’t hard to see why. The whole thing was like the new \u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex and the City\u003c/em> reboot\u003c/a>: You know you should turn away. You know what you’re looking at is going to make you cringe. But the need to keep staring at it is uncontrollable.\u003c/p>\n\u003cp>The new couple spent several days parading around in almost-but-not-quite-matching outfits.\u003c/p>\n\u003cp>There was this double denim situation:\u003c/p>\n\u003cp>https://twitter.com/saint/status/1485299099377315842\u003c/p>\n\u003cp>This Folsom Street Fair-adjacent effort:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/LiabilityLouie/status/1486163857668255748\u003c/p>\n\u003cp>And whatever the hell this was:\u003c/p>\n\u003cp>https://twitter.com/therapland/status/1485777404903792641\u003c/p>\n\u003cp>Truly, the longer the couple’s Paris sojourn went on, the more out of her depth Fox looked. Which isn’t terribly surprising if you examine the circumstances. Ye (that’s the name West is using now) and Fox met just one month ago, on New Year’s Eve. And—according to the \u003ca href=\"https://www.interviewmagazine.com/culture/date-night\" target=\"_blank\" rel=\"noopener noreferrer\">two paragraph-story Fox wrote for \u003cem>Interview\u003c/em>\u003c/a> magazine last month—he presented her with “an entire hotel suite full of clothes,” after knowing her for literally one day. Fox wrote: “I was so surprised. Like, who does things like this on a second date? Or any date!”\u003c/p>\n\u003cp>The answer to that question is: a new partner who’s waving a big ol’ red flag in your face.\u003c/p>\n\u003cp>https://twitter.com/AaronRFernandes/status/1487565601321197568\u003c/p>\n\u003cp>If you look up how to spot if you’re in an unhealthy relationship, clothing is a recurring theme. \u003ca href=\"https://psychcentral.com/lib/signs-controlling-partner-relationship\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Psych Central\u003c/em>\u003c/a> suggests that controlling partners “could start slowly ‘changing your wardrobe’ by buying specific outfits as gifts to you.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.everydayhealth.com/emotional-health/controlling-men/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everyday Health\u003c/em>\u003c/a> says: “Controlling men like to be in charge. They like to tell women what to do, wear and be, and even how and when to speak. Most controlling men don’t really believe they are controlling. In their minds, they’re merely helping their wives or girlfriends to ‘improve,’ and they honestly believe that men are entitled to have things just the way they prefer them to be … Does this sound like anyone you know?”\u003c/p>\n\u003cp>[aside postid='pop_28206']Yes. It sounds like Kanye West, who has been re-dressing women according to his specifications, very openly, for years.\u003c/p>\n\u003cp>Amber Rose spoke repeatedly about \u003ca href=\"https://www.elle.com/fashion/a9049/fashion-spotlight-amber-rose-360509/\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye’s attempts to control her wardrobe\u003c/a> while the two were a couple. She told \u003cem>Elle\u003c/em> in 2009: “He’ll pick out something and I’ll be like, ‘Oh, God, I don’t like that at all.’ And then I’ll pick out something and he’ll be like ‘Babe, just… no.’ I’m more electric pink and bright yellow. And Kanye’s more like nude and bone … I’m not, like, his Barbie.”\u003c/p>\n\u003cp>In his next serious relationship, Kanye found a significantly more malleable partner. In a 2012 episode of \u003cem>Keeping Up With the Kardashians\u003c/em>—filmed just a few months into their relationship—Kanye is seen telling Kardashian to “clean out everything” from her closet. Her pleas to keep a few accessories are repeatedly shot down, despite her being a long-time boutique owner who first became famous while working as a personal stylist.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8E9lNF9bhYU\u003c/p>\n\u003cp>No secret was made of the fact that Kanye exerted extreme control over Kardashian’s style for the entirety of their relationship. In one 2018 episode of her reality show, Kardashian mentioned that Kanye had flown out to Paris to see her for 24 hours. Not because he missed her, but because he had seen paparazzi photos of her wearing clothes he didn’t like, and he wanted to check on her wardrobe.\u003c/p>\n\u003cp>[aside postid='pop_49104']A year later, Kanye questioned Kardashian’s choice to wear a stunning Thierry Mugler corseted dress to the Met Gala. “A corset is a form of underwear. It’s hot. It’s like, it’s hot for who though?” he said to Kardashian the night before the event. “You are my wife and it affects me when pictures are too sexy.”\u003c/p>\n\u003cp>Julia Fox isn’t Kanye’s wife. She’s only been his girlfriend for a month. But if Fashion Week is anything to go by, he seems to already be controlling every inch of her appearance, down to her makeup.\u003c/p>\n\u003cp>https://twitter.com/LukeLarainGray/status/1485690511633625089\u003c/p>\n\u003cp>There’s no doubt that all of this is outside Fox’s wheelhouse—you can see it in her awkward Fashion Week body language. And it’s probably because Kanye’s clothing choices for her are such an enormous departure from anything she’s ever worn in public previously.\u003c/p>\n\u003cp>To demonstrate the contrast, here’s what she looked like at November’s CFDA Awards, just six weeks before Kanye showed up with that suite full of clothes.\u003c/p>\n\u003cfigure id=\"attachment_13908832\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1352567200-800x1200.jpg\" alt=\"A fresh-faced, but polished woman stands on the red carpet wearing a tight, mint green long sleeved top and calf length pale pink skirt with fur trim. She carries a beaded handbag in the shape of the Empire State Building.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Fox at the CFDA Fashion Awards, New York, November 2021. \u003ccite>(Jamie McCarthy/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite an obvious pattern, Kanye’s compulsion to control yet another girlfriend’s appearance has been greeted without much alarm in the press. The tabloid media has, by and large, instead decided to pit Kardashian and Fox against each other. (This despite reports that \u003ca href=\"https://www.elle.com/culture/celebrities/a38735734/kim-kardashian-kanye-west-julia-fox-dating-pursuit-reaction/\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian is just trying to move on with her life\u003c/a>.)\u003c/p>\n\u003cp>“Fox borrowed yet another look from her boyfriend Kanye West’s ex Kim Kardashian as she stepped out during Paris Fashion Week last week,” the \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10466443/Kanye-Wests-new-flame-Julia-Fox-denies-copying-Kim-Kardashians-edgy-chest-mold.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Mail\u003c/em> declared\u003c/a> yesterday.\u003c/p>\n\u003cp>“Kanye West’s Girlfriend Julia Fox Rips Off Kim Kardashian With Oozing Chest Mold, Model Caught In Another Copycat Fashion Fumble,” \u003ca href=\"https://radaronline.com/p/kanye-west-girlfriend-julia-fox-chest-mold-copying-kim-kardashian-fashion-style/\" target=\"_blank\" rel=\"noopener noreferrer\">screamed\u003cem> Radar Online\u003c/em>\u003c/a> this week.\u003c/p>\n\u003cp>The copycat refrain has been so common, \u003ca href=\"https://www.complex.com/style/julia-fox-responds-to-claim-she-channels-kim-kardashian-outfit-choice\" target=\"_blank\" rel=\"noopener noreferrer\">Fox felt the need to take to Instagram this week to deny she was stealing looks from Kardashian\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13908784']That Fox has been blamed for “copying” Kardashian is a reflection of just how much our culture loves a catfight. It also points to a widespread unwillingness to examine Kanye’s disturbing need to take control of the appearances of the women he’s with.\u003c/p>\n\u003cp>What has been said far too little in the course of Fox and Kanye’s short relationship is that when one person insists on controlling another person’s clothing and makeup choices, it’s a way of squashing their bodily autonomy. It’s a way to restrict their sense of personal freedom. It’s a way to make them insecure about their own judgement which, in turn, is designed to make them more dependent on the controlling partner. And when the act of altering someone’s image is presented as a romantic gesture, it’s not a sign of love, it’s a form of grooming.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fox isn’t trying to keep up with Kim Kardashian; she appears to be trying desperately to keep up with the demands of Kanye West. That she thinks him dressing her is “\u003ca href=\"https://www.interviewmagazine.com/culture/date-night\" target=\"_blank\" rel=\"noopener noreferrer\">every girl’s dream\u003c/a>” is perhaps the part that’s most disturbing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paris Fashion Week happened last week. The only reason I know this is because every time (the artist formerly known as) Kanye West and his new girlfriend Julia Fox showed up anywhere, Twitter had a meltdown. It wasn’t hard to see why. The whole thing was like the new \u003ca href=\"https://www.kqed.org/arts/13908472/and-just-like-that-sex-and-the-city-che-miranda-carrie-charlotte-nyc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex and the City\u003c/em> reboot\u003c/a>: You know you should turn away. You know what you’re looking at is going to make you cringe. But the need to keep staring at it is uncontrollable.\u003c/p>\n\u003cp>The new couple spent several days parading around in almost-but-not-quite-matching outfits.\u003c/p>\n\u003cp>There was this double denim situation:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This Folsom Street Fair-adjacent effort:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And whatever the hell this was:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Truly, the longer the couple’s Paris sojourn went on, the more out of her depth Fox looked. Which isn’t terribly surprising if you examine the circumstances. Ye (that’s the name West is using now) and Fox met just one month ago, on New Year’s Eve. And—according to the \u003ca href=\"https://www.interviewmagazine.com/culture/date-night\" target=\"_blank\" rel=\"noopener noreferrer\">two paragraph-story Fox wrote for \u003cem>Interview\u003c/em>\u003c/a> magazine last month—he presented her with “an entire hotel suite full of clothes,” after knowing her for literally one day. Fox wrote: “I was so surprised. Like, who does things like this on a second date? Or any date!”\u003c/p>\n\u003cp>The answer to that question is: a new partner who’s waving a big ol’ red flag in your face.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>If you look up how to spot if you’re in an unhealthy relationship, clothing is a recurring theme. \u003ca href=\"https://psychcentral.com/lib/signs-controlling-partner-relationship\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Psych Central\u003c/em>\u003c/a> suggests that controlling partners “could start slowly ‘changing your wardrobe’ by buying specific outfits as gifts to you.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.everydayhealth.com/emotional-health/controlling-men/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Everyday Health\u003c/em>\u003c/a> says: “Controlling men like to be in charge. They like to tell women what to do, wear and be, and even how and when to speak. Most controlling men don’t really believe they are controlling. In their minds, they’re merely helping their wives or girlfriends to ‘improve,’ and they honestly believe that men are entitled to have things just the way they prefer them to be … Does this sound like anyone you know?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes. It sounds like Kanye West, who has been re-dressing women according to his specifications, very openly, for years.\u003c/p>\n\u003cp>Amber Rose spoke repeatedly about \u003ca href=\"https://www.elle.com/fashion/a9049/fashion-spotlight-amber-rose-360509/\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye’s attempts to control her wardrobe\u003c/a> while the two were a couple. She told \u003cem>Elle\u003c/em> in 2009: “He’ll pick out something and I’ll be like, ‘Oh, God, I don’t like that at all.’ And then I’ll pick out something and he’ll be like ‘Babe, just… no.’ I’m more electric pink and bright yellow. And Kanye’s more like nude and bone … I’m not, like, his Barbie.”\u003c/p>\n\u003cp>In his next serious relationship, Kanye found a significantly more malleable partner. In a 2012 episode of \u003cem>Keeping Up With the Kardashians\u003c/em>—filmed just a few months into their relationship—Kanye is seen telling Kardashian to “clean out everything” from her closet. Her pleas to keep a few accessories are repeatedly shot down, despite her being a long-time boutique owner who first became famous while working as a personal stylist.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8E9lNF9bhYU'\n title='//www.youtube.com/embed/8E9lNF9bhYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No secret was made of the fact that Kanye exerted extreme control over Kardashian’s style for the entirety of their relationship. In one 2018 episode of her reality show, Kardashian mentioned that Kanye had flown out to Paris to see her for 24 hours. Not because he missed her, but because he had seen paparazzi photos of her wearing clothes he didn’t like, and he wanted to check on her wardrobe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A year later, Kanye questioned Kardashian’s choice to wear a stunning Thierry Mugler corseted dress to the Met Gala. “A corset is a form of underwear. It’s hot. It’s like, it’s hot for who though?” he said to Kardashian the night before the event. “You are my wife and it affects me when pictures are too sexy.”\u003c/p>\n\u003cp>Julia Fox isn’t Kanye’s wife. She’s only been his girlfriend for a month. But if Fashion Week is anything to go by, he seems to already be controlling every inch of her appearance, down to her makeup.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s no doubt that all of this is outside Fox’s wheelhouse—you can see it in her awkward Fashion Week body language. And it’s probably because Kanye’s clothing choices for her are such an enormous departure from anything she’s ever worn in public previously.\u003c/p>\n\u003cp>To demonstrate the contrast, here’s what she looked like at November’s CFDA Awards, just six weeks before Kanye showed up with that suite full of clothes.\u003c/p>\n\u003cfigure id=\"attachment_13908832\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/GettyImages-1352567200-800x1200.jpg\" alt=\"A fresh-faced, but polished woman stands on the red carpet wearing a tight, mint green long sleeved top and calf length pale pink skirt with fur trim. She carries a beaded handbag in the shape of the Empire State Building.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/GettyImages-1352567200-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Fox at the CFDA Fashion Awards, New York, November 2021. \u003ccite>(Jamie McCarthy/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite an obvious pattern, Kanye’s compulsion to control yet another girlfriend’s appearance has been greeted without much alarm in the press. The tabloid media has, by and large, instead decided to pit Kardashian and Fox against each other. (This despite reports that \u003ca href=\"https://www.elle.com/culture/celebrities/a38735734/kim-kardashian-kanye-west-julia-fox-dating-pursuit-reaction/\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian is just trying to move on with her life\u003c/a>.)\u003c/p>\n\u003cp>“Fox borrowed yet another look from her boyfriend Kanye West’s ex Kim Kardashian as she stepped out during Paris Fashion Week last week,” the \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10466443/Kanye-Wests-new-flame-Julia-Fox-denies-copying-Kim-Kardashians-edgy-chest-mold.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daily Mail\u003c/em> declared\u003c/a> yesterday.\u003c/p>\n\u003cp>“Kanye West’s Girlfriend Julia Fox Rips Off Kim Kardashian With Oozing Chest Mold, Model Caught In Another Copycat Fashion Fumble,” \u003ca href=\"https://radaronline.com/p/kanye-west-girlfriend-julia-fox-chest-mold-copying-kim-kardashian-fashion-style/\" target=\"_blank\" rel=\"noopener noreferrer\">screamed\u003cem> Radar Online\u003c/em>\u003c/a> this week.\u003c/p>\n\u003cp>The copycat refrain has been so common, \u003ca href=\"https://www.complex.com/style/julia-fox-responds-to-claim-she-channels-kim-kardashian-outfit-choice\" target=\"_blank\" rel=\"noopener noreferrer\">Fox felt the need to take to Instagram this week to deny she was stealing looks from Kardashian\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A black, floor-length dress adorned with buttons unsubtly spelling “I Love Patrick Kelly” greets visitors as they enter the de Young’s \u003cem>\u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Patrick Kelly: Runway of Love\u003c/a>\u003c/em> exhibition. A leopard-print coat in the mannequin’s hand hits the floor luxuriantly, the entire outfit (from the designer’s Fall/Winter 1988–1989 show) emblematic of the unabashed enthusiasm Patrick Kelly put into his fashion—the same enthusiasm we can’t help but feel while looking at his work.\u003c/p>\n\u003cp>[aside postID='arts_13901009']Hearts, buttons, Paris, even racist memorabilia appear in the Mississippi-born designer’s fashion featured in \u003cem>Runway of Love\u003c/em>, which covers his creations between 1984 and 1990. Archival video positioned throughout the exhibition animates the static mannequins, featuring glamorous 1980s models like Naomi Campbell gleefully walking down the runway in his designs. \u003c/p>\n\u003cp>\u003cem>Runway of Love\u003c/em>, co-organized by the Philadelphia Museum of Art and on view at the de Young through April 24, 2022, was put together with the help of Kelly’s former partner, Bjorn Guil Amelan, who has been dedicated to preserving Kelly’s work and legacy. The first American designer to be admitted into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, France’s prestigious fashion association, Kelly died from AIDS-related complications in 1990, abruptly ending a promising career when he was just 35 years old.\u003c/p>\n\u003cfigure id=\"attachment_13905763\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I remember seeing pictures of Kelly’s clothes on Tumblr and Twitter in my adolescence. At the time, the images felt like a history lesson in the changing styles of fashion—Kelly’s ’80s designs were so different from what I saw on runways in the 2010s. But experiencing the clothes in person and learning more about the inspiration behind the work made me appreciate them so much more.\u003c/p>\n\u003cp>Now, I see his influence on current fashions. In the “Hot Couture” section of the exhibit, a “Nail” ensemble from Kelly’s Fall/Winter 1988 collection has metal nails embroidered into both the skirt and the sweater. Nails spike out from the wrist flares of matching gloves, accompanied by nail earrings and nail bracelets. The look is striking. I was reminded of the Beaumont, Texas artist \u003ca href=\"https://www.google.com/search?q=teezo+touchdown&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi65MPd3_rzAhUqJTQIHWEiDOwQ_AUoAXoECAEQAw&biw=1576&bih=1304&dpr=2\" rel=\"noopener noreferrer\" target=\"_blank\">Teezo Touchdown\u003c/a>, who wears nails in his hair wherever he goes. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kelly’s life experiences flowed directly into his fashion. The multicolored buttons that appear throughout his early work pay homage to his grandmother Ethel Rainey, who would sew different colored buttons onto his childhood clothes when the originals fell off. In Kelly’s hands, the buttons become about creating art in any situation, and about letting one’s own life flow into that art.\u003c/p>\n\u003cp>Kelly’s work was never a mistake, everything he did was intentional and open to interpretation. “He never explained; he did,” Aleman says.\u003c/p>\n\u003cfigure id=\"attachment_13905761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kelly’s multicolored button designs in ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Themes from his Southern upbringing appear in less comforting ways. Symbols of the racism he experienced while living through segregation found their way into this work; he began collecting racist memorabilia after he moved to Paris in 1979. In the “Mississippi in Paris” section of the exhibit, an outfit from Kelly’s Spring/Summer 1986 collection features a white lace shirt and matching skirt, accessorized with a necklace and earrings made of roses and Black baby dolls. Amelan remembers how he once gave Kelly an ashtray for his birthday, decorated with what Amelan didn’t realize was a racist image. Instead of taking offense, Kelly incorporated the image into his work. He replied to criticism with, “If we can’t deal with where we’ve been, it’s gon’ to be hard to go somewhere.”\u003c/p>\n\u003cp>Kelly was also heavily influenced by the artists and designers who came before him. The matching wool sets from his Fall/Winter 1988 collection resemble the iconic tweed sets of Chanel. On the wall opposite his designs, photos show Kelly adopting Coco Chanel-like poses. Dancer Josephine Baker, another Black American who sought out creative freedom in Paris, was also one of Kelly’s inspirations. Baker’s famous banana skirt appeared in Kelly’s Fall/Winter 1986 collection, accompanied by a pink spiral wire bra top and matching pink shoes, an update to the outfit Baker wore in her “Banana Dance” performance. In a video from the fashion show the model in this design dances down the runway. \u003c/p>\n\u003cfigure id=\"attachment_13905765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Patrick Kelly’s banana skirt, inspired by Josephine Baker. \u003ccite>(Photo by Gary Sexton; courtesy the Fine Art Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly’s last show, 1989’s “Lisa Loves the Louvre,” was based on the idea of the Mona Lisa inviting the designer to her “house” (the Louvre). Models wore T-shirt dresses with red stockings. Kelly placed himself in a frame, posing like the Mona Lisa. At the de Young, the centerpiece of this section of the exhibition is a placeholder for Kelly himself: his infamous overalls, worn with a heart-covered shirt and a flipped-brim cap that reads “Paris.” \u003c/p>\n\u003cp>For a show about fashion design, \u003ci>Runway of Love\u003c/i> is full of such snippets of text. The words “Nothing is impossible” appear on a window overlooking the exhibition, the same words etched into Kelly’s tombstone at the Père Lachaise Cemetery in Paris. For a brief moment in Kelly’s too-short life, these words rang true. Now, his clothes speak for themselves, conveying his spirit of love and joy through the language of fashion. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Patrick Kelly: Runway of Love’ is on view at San Francisco’s de Young Museum through April 24, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A black, floor-length dress adorned with buttons unsubtly spelling “I Love Patrick Kelly” greets visitors as they enter the de Young’s \u003cem>\u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Patrick Kelly: Runway of Love\u003c/a>\u003c/em> exhibition. A leopard-print coat in the mannequin’s hand hits the floor luxuriantly, the entire outfit (from the designer’s Fall/Winter 1988–1989 show) emblematic of the unabashed enthusiasm Patrick Kelly put into his fashion—the same enthusiasm we can’t help but feel while looking at his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hearts, buttons, Paris, even racist memorabilia appear in the Mississippi-born designer’s fashion featured in \u003cem>Runway of Love\u003c/em>, which covers his creations between 1984 and 1990. Archival video positioned throughout the exhibition animates the static mannequins, featuring glamorous 1980s models like Naomi Campbell gleefully walking down the runway in his designs. \u003c/p>\n\u003cp>\u003cem>Runway of Love\u003c/em>, co-organized by the Philadelphia Museum of Art and on view at the de Young through April 24, 2022, was put together with the help of Kelly’s former partner, Bjorn Guil Amelan, who has been dedicated to preserving Kelly’s work and legacy. The first American designer to be admitted into the Chambre Syndicale du Prêt-à-Porter des Couturiers et des Créateurs de Mode, France’s prestigious fashion association, Kelly died from AIDS-related complications in 1990, abruptly ending a promising career when he was just 35 years old.\u003c/p>\n\u003cfigure id=\"attachment_13905763\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/13_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I remember seeing pictures of Kelly’s clothes on Tumblr and Twitter in my adolescence. At the time, the images felt like a history lesson in the changing styles of fashion—Kelly’s ’80s designs were so different from what I saw on runways in the 2010s. But experiencing the clothes in person and learning more about the inspiration behind the work made me appreciate them so much more.\u003c/p>\n\u003cp>Now, I see his influence on current fashions. In the “Hot Couture” section of the exhibit, a “Nail” ensemble from Kelly’s Fall/Winter 1988 collection has metal nails embroidered into both the skirt and the sweater. Nails spike out from the wrist flares of matching gloves, accompanied by nail earrings and nail bracelets. The look is striking. I was reminded of the Beaumont, Texas artist \u003ca href=\"https://www.google.com/search?q=teezo+touchdown&source=lnms&tbm=isch&sa=X&ved=2ahUKEwi65MPd3_rzAhUqJTQIHWEiDOwQ_AUoAXoECAEQAw&biw=1576&bih=1304&dpr=2\" rel=\"noopener noreferrer\" target=\"_blank\">Teezo Touchdown\u003c/a>, who wears nails in his hair wherever he goes. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kelly’s life experiences flowed directly into his fashion. The multicolored buttons that appear throughout his early work pay homage to his grandmother Ethel Rainey, who would sew different colored buttons onto his childhood clothes when the originals fell off. In Kelly’s hands, the buttons become about creating art in any situation, and about letting one’s own life flow into that art.\u003c/p>\n\u003cp>Kelly’s work was never a mistake, everything he did was intentional and open to interpretation. “He never explained; he did,” Aleman says.\u003c/p>\n\u003cfigure id=\"attachment_13905761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/3_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Kelly’s multicolored button designs in ‘Patrick Kelly: Runway of Love’ at the de Young Museum. \u003ccite>(Photo by Gary Sexton; courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Themes from his Southern upbringing appear in less comforting ways. Symbols of the racism he experienced while living through segregation found their way into this work; he began collecting racist memorabilia after he moved to Paris in 1979. In the “Mississippi in Paris” section of the exhibit, an outfit from Kelly’s Spring/Summer 1986 collection features a white lace shirt and matching skirt, accessorized with a necklace and earrings made of roses and Black baby dolls. Amelan remembers how he once gave Kelly an ashtray for his birthday, decorated with what Amelan didn’t realize was a racist image. Instead of taking offense, Kelly incorporated the image into his work. He replied to criticism with, “If we can’t deal with where we’ve been, it’s gon’ to be hard to go somewhere.”\u003c/p>\n\u003cp>Kelly was also heavily influenced by the artists and designers who came before him. The matching wool sets from his Fall/Winter 1988 collection resemble the iconic tweed sets of Chanel. On the wall opposite his designs, photos show Kelly adopting Coco Chanel-like poses. Dancer Josephine Baker, another Black American who sought out creative freedom in Paris, was also one of Kelly’s inspirations. Baker’s famous banana skirt appeared in Kelly’s Fall/Winter 1986 collection, accompanied by a pink spiral wire bra top and matching pink shoes, an update to the outfit Baker wore in her “Banana Dance” performance. In a video from the fashion show the model in this design dances down the runway. \u003c/p>\n\u003cfigure id=\"attachment_13905765\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13905765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/17_deYoung_PatrickKelly_GarySexton_10_20_21_1200-768x512.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view with Patrick Kelly’s banana skirt, inspired by Josephine Baker. \u003ccite>(Photo by Gary Sexton; courtesy the Fine Art Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly’s last show, 1989’s “Lisa Loves the Louvre,” was based on the idea of the Mona Lisa inviting the designer to her “house” (the Louvre). Models wore T-shirt dresses with red stockings. Kelly placed himself in a frame, posing like the Mona Lisa. At the de Young, the centerpiece of this section of the exhibition is a placeholder for Kelly himself: his infamous overalls, worn with a heart-covered shirt and a flipped-brim cap that reads “Paris.” \u003c/p>\n\u003cp>For a show about fashion design, \u003ci>Runway of Love\u003c/i> is full of such snippets of text. The words “Nothing is impossible” appear on a window overlooking the exhibition, the same words etched into Kelly’s tombstone at the Père Lachaise Cemetery in Paris. For a brief moment in Kelly’s too-short life, these words rang true. Now, his clothes speak for themselves, conveying his spirit of love and joy through the language of fashion. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Patrick Kelly: Runway of Love’ is on view at San Francisco’s de Young Museum through April 24, 2022. \u003ca href=\"https://deyoung.famsf.org/exhibitions/patrick-kelly\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
"headTitle": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
"content": "\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n",
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"excerpt": "Sleeping bag couture was embraced by Rihanna, A$AP Rocky, Janet Mock and more...",
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"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
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"headline": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "That Beyoncé, Jay-Z and Basquiat Ad for Tiffany's Does Have Some Upsides, You Know",
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"content": "\u003cp>Online discourse got a little heated on Sunday and Monday over a new Tiffany & Co. ad campaign featuring Beyoncé, Jay-Z and a long-unseen Jean-Michel Basquiat painting titled \u003cem>Equals Pi\u003c/em>. The “About Love” campaign will last an entire year, hit print publications on Sept. 2, and, at some stage, will take over every digital billboard in Times Square.\u003c/p>\n\u003cp>In the first released image, Beyoncé stands in a sleek gown, presenting a modern take on Audrey Hepburn’s iconic outfit from the opening scene of \u003cem>Breakfast at Tiffany’s\u003c/em>. Behind her hangs the 1982 Basquiat masterpiece, which has been in a private collection, hidden from the world, for close to 40 years. At her side, Jay-Z reclines in an arm chair, with his locs arranged to mimic Basquiat’s signature hairstyle.\u003c/p>\n\u003cp>And while no one had anything bad to say about Beyoncé…\u003c/p>\n\u003cp>https://twitter.com/BTSOriented/status/1429717656727326726\u003c/p>\n\u003cp>Twitter was upset about a plethora of other things.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/yungseafx/status/1429667087572557829\u003c/p>\n\u003cp>The Basquiat cosplaying accusations were rife…\u003c/p>\n\u003cp>https://twitter.com/MsLaFitteTweets/status/1429765208386457602\u003c/p>\n\u003cp>Plus, understandably, art lovers were perturbed that \u003cem>Equals Pi\u003c/em> was being revealed in public for the first time as part of an ad campaign.\u003c/p>\n\u003cp>https://twitter.com/ScBayScJohnson/status/1429677853252202502\u003c/p>\n\u003cp>The fact that the painting was partially obscured did not help matters.\u003c/p>\n\u003cp>https://twitter.com/Demboslice_/status/1429673868046778369\u003c/p>\n\u003cp>Questions were also raised about whether Basquiat would want his work used in such a way.\u003c/p>\n\u003cp>https://twitter.com/notoriouskpg_/status/1429810458672783362\u003c/p>\n\u003cp>And others just questioned whether art, period, should be used to decorate capitalist endeavors.\u003c/p>\n\u003cp>https://twitter.com/spoonspoon_/status/1429680587305103362\u003c/p>\n\u003cp>That’s before anyone even got into the moral questions around important art works staying hidden from the world in private collections.\u003c/p>\n\u003cp>https://twitter.com/__lukec/status/1429676847869034500\u003c/p>\n\u003cp>In the online kerfuffle, three significant aspects of the ad campaign have been largely skipped over. Those being:\u003c/p>\n\u003cp>1. Tiffany & Co’s (undoubtedly gargantuan, but currently unknown) payment to Bey and Jay for the campaign also involves a $2 million donation for scholarship and internship programs at HBCUs.\u003c/p>\n\u003cp>2. Tiffany’s has purchased \u003cem>Equals Pi\u003c/em> and plans to display it in their flagship Fifth Avenue store in New York once it has completed renovations. Which means the world will finally be able to see it, \u003cem>and\u003c/em> in a place that doesn’t charge an entrance fee.\u003c/p>\n\u003cp>3. Beyoncé is the first Black woman to ever wear the 128.54 carat Tiffany Diamond. Only three other women have ever been permitted to wear it: Mary Whitehouse, Audrey Hepburn and Lady Gaga.\u003c/p>\n\u003cp>All of which are, quantifiably, very good things.\u003c/p>\n\u003cp>Would it have been more ideal for people to first see this painting in a way that didn’t involve also trying to sell jewelry? Of course. Should Jay-Z think about getting his own hairdo? Maybe. Does it feel weird to see Basquiat’s work being used in this way? That’s up to you, but given that one of his closest collaborators in life was Andy Warhol—the person most responsible for blending high art with commercialism in the first place—it’s hard to imagine he’d mind very much. Are we all going to be sick to death of this ad campaign in six months’ time? Oh, you betcha. (Beyoncé is even going to sing “Moon River” to Jay-Z at some point, so … that’s happening.)\u003c/p>\n\u003cp>Truthfully, if anything in this whole campaign is ripe for mockery, it’s the completely unfounded assertions that Tiffany & Co. have been making about \u003cem>Equals Pi\u003c/em>‘s turquoise background. “We don’t have any literature that says [Basquiat] made the painting for Tiffany,” executive vice president of products and communications, Alexandre Arnault, told \u003ca href=\"https://wwd.com/accessories-news/jewelry/beyonce-jay-z-tiffany-ad-campaign-1234900967/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WWD\u003c/em>\u003c/a>. “My guess is that the [blue painting] is not by chance. The color is so specific that it has to be some kind of homage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If we could get a collective Twitter eyeroll for \u003cem>that\u003c/em>, that’d be marvelous.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the online kerfuffle, three significant aspects of the ad campaign have been largely skipped over. Those being:\u003c/p>\n\u003cp>1. Tiffany & Co’s (undoubtedly gargantuan, but currently unknown) payment to Bey and Jay for the campaign also involves a $2 million donation for scholarship and internship programs at HBCUs.\u003c/p>\n\u003cp>2. Tiffany’s has purchased \u003cem>Equals Pi\u003c/em> and plans to display it in their flagship Fifth Avenue store in New York once it has completed renovations. Which means the world will finally be able to see it, \u003cem>and\u003c/em> in a place that doesn’t charge an entrance fee.\u003c/p>\n\u003cp>3. Beyoncé is the first Black woman to ever wear the 128.54 carat Tiffany Diamond. Only three other women have ever been permitted to wear it: Mary Whitehouse, Audrey Hepburn and Lady Gaga.\u003c/p>\n\u003cp>All of which are, quantifiably, very good things.\u003c/p>\n\u003cp>Would it have been more ideal for people to first see this painting in a way that didn’t involve also trying to sell jewelry? Of course. Should Jay-Z think about getting his own hairdo? Maybe. Does it feel weird to see Basquiat’s work being used in this way? That’s up to you, but given that one of his closest collaborators in life was Andy Warhol—the person most responsible for blending high art with commercialism in the first place—it’s hard to imagine he’d mind very much. Are we all going to be sick to death of this ad campaign in six months’ time? Oh, you betcha. (Beyoncé is even going to sing “Moon River” to Jay-Z at some point, so … that’s happening.)\u003c/p>\n\u003cp>Truthfully, if anything in this whole campaign is ripe for mockery, it’s the completely unfounded assertions that Tiffany & Co. have been making about \u003cem>Equals Pi\u003c/em>‘s turquoise background. “We don’t have any literature that says [Basquiat] made the painting for Tiffany,” executive vice president of products and communications, Alexandre Arnault, told \u003ca href=\"https://wwd.com/accessories-news/jewelry/beyonce-jay-z-tiffany-ad-campaign-1234900967/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>WWD\u003c/em>\u003c/a>. “My guess is that the [blue painting] is not by chance. The color is so specific that it has to be some kind of homage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If we could get a collective Twitter eyeroll for \u003cem>that\u003c/em>, that’d be marvelous.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I Zoom into D’Arcy Drollinger’s world, an audible sound check drifts in from the next room, folks wander in and out of the frame to ask logistical questions, and Drollinger himself looks like he’s been awake for days, though his disposition is sunny and enthusiastic. After a year and a half of the pandemic—the last seven months of which his queer nightlife hub \u003ca href=\"https://www.sfoasis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oasis\u003c/a> has been completely closed—the grand reopening of Oasis, scheduled for Pride weekend, is finally just around the corner.\u003c/p>\n\u003cp>Opening with the Drag Disco party Princess feels especially meaningful, as it was formerly a staple of the Stud collective at their former Ninth St. digs, which shuttered just over a year ago. With the Stud collective still venue-less, it’s a symbolic melding of two beloved nightlife staples to usher in a new era of what Drollinger is calling “Oasis 2.0.” After a pandemic-induced realization that Oasis’ past programming (and ticket prices) might have attracted a somewhat insular group of regulars, Drollinger’s new vision includes more accessible pricing structures, a wider range of parties and producers, and the idea that Oasis could be—should be—a “clubhouse” for all.\u003c/p>\n\u003cp>“I feel a responsibility,” he elaborates. “Because we’re coming out of this pandemic where I feel like certain people don’t really have a home… as performers and audience members are gone. And I want to be here for them.”\u003c/p>\n\u003cfigure id=\"attachment_13899061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger living it up at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if Oasis’ very existence hadn’t been threatened by the multiple crises that COVID-19 brought to the forefront, it would have been a hectic year for Drollinger. In February of 2020, he assumed full ownership of the business after co-owner Heklina sold back her stake and moved more or less full-time to Palm Springs.\u003c/p>\n\u003cp>The two began working regularly together 10 years ago while Heklina was managing Rebel, a bar on Market Street. Offered a Tuesday night slot, Drollinger decided to put on parodies of \u003cem>Sex in the City\u003c/em>—inspired in part by Heklina’s success with her popular \u003cem>Golden Girls \u003c/em>series. The show was a hit, and gradually Drollinger moved from Tuesdays to weekends, adding new shows to the roster, such as \u003cem>Designing Women\u003c/em> and \u003cem>Friends\u003c/em>, as well as one of her original works—\u003cem>Shit and Champagne\u003c/em>. In 2014, they got word that Rebel was closing for good. And that’s when the idea of co-owning a venue of their own began to take shape. On New Year’s Day, 2015—after months of negotiating for and remodeling the space at 298 11th Street— they opened the doors to the public, and Oasis was born.\u003c/p>\n\u003cfigure id=\"attachment_13899059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch.jpg 959w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Goldfield, D’Arcy Drollinger, and Steven LeMay celebrating Drollinger’s birthday on the cabaret stage at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hybrid cabaret, theater, dance club and bar, Oasis is set apart from its fellow gay clubs and spaces partially by an attention to production elements. These include in-house technicians to run the shows, and a sturdy, theater-quality stage that, as Drollinger terms, “elevates” the experience for performers, who may be more accustomed to the glare of bare bulbs and makeshift platforms. While audiences stayed at home this past year, Drollinger added the equipment necessary to stream live performances from the space—a practice he intends to keep once live audiences return. Streaming is partly to keep the “clubhouse” accessible to a larger audience, and partly because Drollinger leaned hard into broadcasting during the shutdown, founding a subscriber-based streaming platform called Oasis TV. In addition to airing archival video of his signature staged parodies, Drollinger tapped a talent pool of local queens to create or guest star in a variety of talk shows, drag shows, makeup shows, cooking shows, and other original content created with a playful, queer emphasis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I know that there are other gay TV networks like Logo,” Drollinger says about the experiment. “(But) I feel like there isn’t really a drag-centered television network.” By filling that niche, Drollinger hopes that Oasis TV will outlive its pandemic origins and remain a home for the drag community both at home and further afield. “I’d like to expand it into a full network,” he enthuses. “I feel like it’s a great asset and it really does have a lot of possibility.”\u003c/p>\n\u003cp>But despite Drollinger’s creativity in creating platforms and income streams—such as the bespoke drag queen dinner delivery service, \u003ca href=\"https://www.sfoasis.com/meals-on-heels\" rel=\"noopener noreferrer\" target=\"_blank\">Meals on Heels\u003c/a>—Oasis was by no means spared the financial stresses that the pandemic wrought across San Francisco nightlife. Even the unanticipated windfall of their 11th hour telethon in early March, during which they raised over $268,000, has already mostly been spent on debts incurred during the pandemic, and on reopening costs. As Drollinger points out, there are government programs at the federal and the local level designed to help small businesses and entertainment venues to survive, but most of the money earmarked for them has yet to be distributed.\u003c/p>\n\u003cp>[aside postID='arts_13898639']“It’s crazy…we’re going to reopen before we get any money that was supposed to be here to help us get through this,” comments Drollinger. “I know there’s lots of red tape and so many people involved, but I feel like nobody really understands how hand-to-mouth we are in this business.”\u003c/p>\n\u003cp>Financial and operational struggles aside, Drollinger is thrilled to be able to open Oasis to a full capacity Pride crowd this weekend and beyond. Although scrambling to fill the calendar while simultaneously hiring back staff and renovating to reopen has been hectic, Drollinger promises some surprises on the horizon. In the immediate future, Oasis favorite Matthew Martin will star in a new original show penned by Michael Phillis called \u003cem>The Hand That Rocks the Crawford\u003c/em>, which reimagines female-led thrillers such as \u003cem>Basic Instinct\u003c/em> and \u003cem>The Hand That Rocks the Cradle\u003c/em> as starring Joan Crawford. Princess will continue weekly, and Drag King revue \u003cem>Dandy\u003c/em> will strut it out on July 3.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All in all, Drollinger is optimistic for the future of Oasis and for nightlife in general. “For the most part I think people—maybe even more so—are going to want to come out, and if history serves us, it’s possibly going to be a roaring ’20s situation,” he remarks. “We’ll see…but everything seems to be pointing to everybody’s sort of desperation to be together again.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I Zoom into D’Arcy Drollinger’s world, an audible sound check drifts in from the next room, folks wander in and out of the frame to ask logistical questions, and Drollinger himself looks like he’s been awake for days, though his disposition is sunny and enthusiastic. After a year and a half of the pandemic—the last seven months of which his queer nightlife hub \u003ca href=\"https://www.sfoasis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oasis\u003c/a> has been completely closed—the grand reopening of Oasis, scheduled for Pride weekend, is finally just around the corner.\u003c/p>\n\u003cp>Opening with the Drag Disco party Princess feels especially meaningful, as it was formerly a staple of the Stud collective at their former Ninth St. digs, which shuttered just over a year ago. With the Stud collective still venue-less, it’s a symbolic melding of two beloved nightlife staples to usher in a new era of what Drollinger is calling “Oasis 2.0.” After a pandemic-induced realization that Oasis’ past programming (and ticket prices) might have attracted a somewhat insular group of regulars, Drollinger’s new vision includes more accessible pricing structures, a wider range of parties and producers, and the idea that Oasis could be—should be—a “clubhouse” for all.\u003c/p>\n\u003cp>“I feel a responsibility,” he elaborates. “Because we’re coming out of this pandemic where I feel like certain people don’t really have a home… as performers and audience members are gone. And I want to be here for them.”\u003c/p>\n\u003cfigure id=\"attachment_13899061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_DArcyDRollinger_photocredit_Gooch.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D’Arcy Drollinger living it up at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if Oasis’ very existence hadn’t been threatened by the multiple crises that COVID-19 brought to the forefront, it would have been a hectic year for Drollinger. In February of 2020, he assumed full ownership of the business after co-owner Heklina sold back her stake and moved more or less full-time to Palm Springs.\u003c/p>\n\u003cp>The two began working regularly together 10 years ago while Heklina was managing Rebel, a bar on Market Street. Offered a Tuesday night slot, Drollinger decided to put on parodies of \u003cem>Sex in the City\u003c/em>—inspired in part by Heklina’s success with her popular \u003cem>Golden Girls \u003c/em>series. The show was a hit, and gradually Drollinger moved from Tuesdays to weekends, adding new shows to the roster, such as \u003cem>Designing Women\u003c/em> and \u003cem>Friends\u003c/em>, as well as one of her original works—\u003cem>Shit and Champagne\u003c/em>. In 2014, they got word that Rebel was closing for good. And that’s when the idea of co-owning a venue of their own began to take shape. On New Year’s Day, 2015—after months of negotiating for and remodeling the space at 298 11th Street— they opened the doors to the public, and Oasis was born.\u003c/p>\n\u003cfigure id=\"attachment_13899059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13899059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Oasis_CabaretStage_photocredit_Gooch.jpg 959w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cindy Goldfield, D’Arcy Drollinger, and Steven LeMay celebrating Drollinger’s birthday on the cabaret stage at Oasis. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A hybrid cabaret, theater, dance club and bar, Oasis is set apart from its fellow gay clubs and spaces partially by an attention to production elements. These include in-house technicians to run the shows, and a sturdy, theater-quality stage that, as Drollinger terms, “elevates” the experience for performers, who may be more accustomed to the glare of bare bulbs and makeshift platforms. While audiences stayed at home this past year, Drollinger added the equipment necessary to stream live performances from the space—a practice he intends to keep once live audiences return. Streaming is partly to keep the “clubhouse” accessible to a larger audience, and partly because Drollinger leaned hard into broadcasting during the shutdown, founding a subscriber-based streaming platform called Oasis TV. In addition to airing archival video of his signature staged parodies, Drollinger tapped a talent pool of local queens to create or guest star in a variety of talk shows, drag shows, makeup shows, cooking shows, and other original content created with a playful, queer emphasis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I know that there are other gay TV networks like Logo,” Drollinger says about the experiment. “(But) I feel like there isn’t really a drag-centered television network.” By filling that niche, Drollinger hopes that Oasis TV will outlive its pandemic origins and remain a home for the drag community both at home and further afield. “I’d like to expand it into a full network,” he enthuses. “I feel like it’s a great asset and it really does have a lot of possibility.”\u003c/p>\n\u003cp>But despite Drollinger’s creativity in creating platforms and income streams—such as the bespoke drag queen dinner delivery service, \u003ca href=\"https://www.sfoasis.com/meals-on-heels\" rel=\"noopener noreferrer\" target=\"_blank\">Meals on Heels\u003c/a>—Oasis was by no means spared the financial stresses that the pandemic wrought across San Francisco nightlife. Even the unanticipated windfall of their 11th hour telethon in early March, during which they raised over $268,000, has already mostly been spent on debts incurred during the pandemic, and on reopening costs. As Drollinger points out, there are government programs at the federal and the local level designed to help small businesses and entertainment venues to survive, but most of the money earmarked for them has yet to be distributed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s crazy…we’re going to reopen before we get any money that was supposed to be here to help us get through this,” comments Drollinger. “I know there’s lots of red tape and so many people involved, but I feel like nobody really understands how hand-to-mouth we are in this business.”\u003c/p>\n\u003cp>Financial and operational struggles aside, Drollinger is thrilled to be able to open Oasis to a full capacity Pride crowd this weekend and beyond. Although scrambling to fill the calendar while simultaneously hiring back staff and renovating to reopen has been hectic, Drollinger promises some surprises on the horizon. In the immediate future, Oasis favorite Matthew Martin will star in a new original show penned by Michael Phillis called \u003cem>The Hand That Rocks the Crawford\u003c/em>, which reimagines female-led thrillers such as \u003cem>Basic Instinct\u003c/em> and \u003cem>The Hand That Rocks the Cradle\u003c/em> as starring Joan Crawford. Princess will continue weekly, and Drag King revue \u003cem>Dandy\u003c/em> will strut it out on July 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All in all, Drollinger is optimistic for the future of Oasis and for nightlife in general. “For the most part I think people—maybe even more so—are going to want to come out, and if history serves us, it’s possibly going to be a roaring ’20s situation,” he remarks. “We’ll see…but everything seems to be pointing to everybody’s sort of desperation to be together again.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Marcella Hubbard's Purple 100th Birthday Celebration",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>arcella Hubbard has a purple house with purple flowers. A purple wardrobe and purple bedding. She used to drive a purple car, and now owns a purple cane.\u003c/p>\n\u003cp>On March 28, 2021, Marcella Hubbard wore all purple as she celebrated her 100th birthday. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>To help celebrate the occasion, I rode with my family as my mother (a neighbor of Mrs. Hubbard’s) drove in a procession of cars decorated in plum, grape, and fig colored streamers. Our parade began at Mosswood Park and ended in the parking lot of the New Hope Baptist Church in West Oakland—people honking and waving banners the whole way. Upon arrival, violet ‘Happy Birthday’ balloons were sent sunward, and lavender butterfly-shaped confetti fell to ground.\u003c/p>\n\u003cfigure id=\"attachment_13894891\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-800x510.png\" alt=\"A purple "Happy 100th Birthday" banner mounted on the front of Mrs. Hubbard's house \" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A purple “Happy 100th Birthday” banner mounted on the front of Mrs. Hubbard’s house \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mrs. Hubbard, dressed in the most royal shade of purple you’ve ever seen with a fly hat to boot, stood on the far end of the parking lot waving at people. Around her, family members dressed in periwinkle tutus and pastel shirts passed out cake and packaged lunches to cars passing by.\u003c/p>\n\u003cp>Some folks, like ourselves, stopped to get a few photos and soak in the moment. When face-to-face with the lady of honor, it hit: what do you tell someone who is turning 100?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Happy birthday!” I said, before proceeding to to hide behind my camera and document the occasion.\u003c/p>\n\u003cp>Family members assembled around her. Five generations fluidly moving. No easy feat to get them organized. But in the scope of all that a matriarch and the five generations of her African American family have faced, getting together for a group photo was cake.\u003c/p>\n\u003cfigure id=\"attachment_13894895\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894895\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00086-800x535.jpg\" alt=\"Mrs. Hubbard sits in the center as family members gather around her for a photograph. Almost everyone is wearing purple. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mrs. Hubbard sits in the center as family members gather around her for a photograph. Almost everyone is wearing purple. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>rs. Hubbard was born in Louisville, Mississippi, on March 28, 1921, the second oldest of a family that would eventually grow to 22 children. Her father, William James Eichelberger, and her mother, Sarah Coleman Eichelberger, had 10 children together before Sarah passed. After her father remarried, he had another dozen children.\u003c/p>\n\u003cp>Mrs. Hubbard worked on the farm, picking cotton as well as flowers—the latter of which planted a seed that’s still yielding fruit to this day.\u003c/p>\n\u003cp>“I just loved to pick violets,” Mrs. Hubbard tells me during a phone call earlier this week. “I just loved the color purple; it comes from the flowers that bloomed in the yard.”\u003c/p>\n\u003cfigure id=\"attachment_13894888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00096-800x535.jpg\" alt='Marcella Hubbard, wearing all purple and a COVID-19 safe protective face shield, sits in front of a huge \"100\" sign as she celebrates her 100th birthday.' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marcella Hubbard, wearing all purple and a COVID-19 safe protective face shield, sits in front of a huge “100” sign as she celebrates her 100th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1943, Mrs. Hubbard came to the Bay Area for the first time, landing a job in a factory in Sausalito during World War II; in 2014 she was honored for her work there as a \u003ca href=\"http://www.winwebnews.com/2018/03/louisville-native-received-rosie.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rosie The Riveter\u003c/a>.\u003c/p>\n\u003cp>In the mid-1900s, she traveled back and forth between the Bay Area and the south, eventually graduating from Mississippi Valley State University with a degree in education. In 1946, she married Rev. B.C. Turnipseed. The two oversaw a church in Mississippi, where equity was preached and voters were registered.\u003c/p>\n\u003cp>In 1963, after her husband died, Marcella and her only child, Angeline Eichelberger West, moved to the Bay Area permanently. First living with family on 60th Street in North Oakland, she eventually bought a home on 63rd Street, where the family has lived since the 1970s.\u003c/p>\n\u003cp>Marcella got re-married, this time to a man by the name of M. L. Hubbard. She worked a number of different jobs: in addition to being an educator, she was a seamstress, a social security administrator, and a longtime employee at a local office for the Internal Revenue Service. Active in her \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/dhs/documents/marketingmaterial/oak069507.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">North Oakland community\u003c/a>, she was an early pioneer in urban gardening through her involvement with the Golden Gate Community Garden on 62nd Street.\u003c/p>\n\u003cfigure id=\"attachment_13894893\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00042-800x535.jpg\" alt=\"A pickup truck full of family members drives in the parade to celebrate Marcella Hubbard's 100th birthday. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pickup truck full of family members drives in the parade to celebrate Marcella Hubbard’s 100th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She joined the New Hope Baptist Church in 1964, and through that institution has worked with young folks who were incarcerated at Juvenile Hall, off 150th Avenue in East Oakland.\u003c/p>\n\u003cp>“A lot of time they would bring the boys to the church with them, they’d give them gifts and bibles, and talk to them,” says LaTasha Mitchum, Mrs. Hubbard’s oldest grandchild. “A lot of the boys, once they got out of trouble, they’d come looking for her.”\u003c/p>\n\u003cp>Marcella Hubbard’s life has been so storied that at her 70th birthday party, family members chose parts of her life to depict in theatrical form, according to her youngest grandchild, Rasheeda West-Johnson.\u003c/p>\n\u003cp>“She is walking history,” says Rasheeda during a phone call on Monday. Rasheeda says in her grandmother’s older years, she’s been more transparent about her life’s experiences—especially as they pertain to racism.\u003c/p>\n\u003cfigure id=\"attachment_13894898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00053-800x535.jpg\" alt=\"A car celebrating Marcella Hubbard's 100th birthday crosses Martin Luther King Jr. Way in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A car celebrating Marcella Hubbard’s 100th birthday crosses Martin Luther King Jr. Way in Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know that her first husband who was a preacher had to move out of Mississippi where they were because of Jim Crow, and that they were trying to lynch him because the church that they oversaw was trying to preach and teach equal rights,” says Rasheeda.\u003c/p>\n\u003cp>Because her children like to be in “grown folks’ business\u003cem>,” \u003c/em>Rasheeda has been very intentional to have the young ones present when her grandmother feels like talking.\u003c/p>\n\u003cp>“I make sure that the boys are around so that they can get firsthand knowledge of what’s going on,” says Rasheeda, questioning how much society has progressed in the decades since her grandmother was her children’s age. “I don’t even know if you’d call it an evolution… We’re still experiencing a lot of the same things. But for my children, it’s just acknowledging who she is and what she’s gone through. And having the utmost respect for her, because she’s lived a life that’s been extremely full.”\u003c/p>\n\u003cfigure id=\"attachment_13894897\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00106-800x535.jpg\" alt='A \"Happy Birthday Marcella\" sign mounted in the window of an automobile. ' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Happy Birthday Marcella’ sign mounted in the window of an automobile. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith COVID-19, the family was concerned that Mrs. Hubbard wasn’t going to be able to have the type of party that she envisioned, as she’s grown accustomed to having sizable celebrations at the end of each decade. But they managed to bring everyone together in the safest fashion possible.\u003c/p>\n\u003cp>Samauri Ware, Mrs. Hubbard’s middle grandchild, says that when they pulled up to the church last Saturday, Mrs. Hubbard kind of “bounced” out of the car. Samauri says, “It was just shocking to me. I was like, ‘She’s excited!'”\u003c/p>\n\u003cp>Up and active is how I’ve usually seen Mrs. Hubbard. Over the years I’ve talked to her through my mom’s backyard fence, as she’s often gardening, growing purple peas, purple greens and, of course, purple flowers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When we last spoke, she told me she feels great being 100. The key to success? Mrs. Hubbard says, “Well, I try to be an honest person, and I like to work and help others. And I love God.”\u003c/p>\n\n",
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"excerpt": "From her roots in Mississippi to her time as a Rosie the Riveter in WWII, Marcella Hubbard has led an incredible life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>arcella Hubbard has a purple house with purple flowers. A purple wardrobe and purple bedding. She used to drive a purple car, and now owns a purple cane.\u003c/p>\n\u003cp>On March 28, 2021, Marcella Hubbard wore all purple as she celebrated her 100th birthday. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>To help celebrate the occasion, I rode with my family as my mother (a neighbor of Mrs. Hubbard’s) drove in a procession of cars decorated in plum, grape, and fig colored streamers. Our parade began at Mosswood Park and ended in the parking lot of the New Hope Baptist Church in West Oakland—people honking and waving banners the whole way. Upon arrival, violet ‘Happy Birthday’ balloons were sent sunward, and lavender butterfly-shaped confetti fell to ground.\u003c/p>\n\u003cfigure id=\"attachment_13894891\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894891\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-800x510.png\" alt=\"A purple "Happy 100th Birthday" banner mounted on the front of Mrs. Hubbard's house \" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-10.00.49-AM.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A purple “Happy 100th Birthday” banner mounted on the front of Mrs. Hubbard’s house \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mrs. Hubbard, dressed in the most royal shade of purple you’ve ever seen with a fly hat to boot, stood on the far end of the parking lot waving at people. Around her, family members dressed in periwinkle tutus and pastel shirts passed out cake and packaged lunches to cars passing by.\u003c/p>\n\u003cp>Some folks, like ourselves, stopped to get a few photos and soak in the moment. When face-to-face with the lady of honor, it hit: what do you tell someone who is turning 100?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Happy birthday!” I said, before proceeding to to hide behind my camera and document the occasion.\u003c/p>\n\u003cp>Family members assembled around her. Five generations fluidly moving. No easy feat to get them organized. But in the scope of all that a matriarch and the five generations of her African American family have faced, getting together for a group photo was cake.\u003c/p>\n\u003cfigure id=\"attachment_13894895\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894895\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00086-800x535.jpg\" alt=\"Mrs. Hubbard sits in the center as family members gather around her for a photograph. Almost everyone is wearing purple. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00086.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mrs. Hubbard sits in the center as family members gather around her for a photograph. Almost everyone is wearing purple. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>rs. Hubbard was born in Louisville, Mississippi, on March 28, 1921, the second oldest of a family that would eventually grow to 22 children. Her father, William James Eichelberger, and her mother, Sarah Coleman Eichelberger, had 10 children together before Sarah passed. After her father remarried, he had another dozen children.\u003c/p>\n\u003cp>Mrs. Hubbard worked on the farm, picking cotton as well as flowers—the latter of which planted a seed that’s still yielding fruit to this day.\u003c/p>\n\u003cp>“I just loved to pick violets,” Mrs. Hubbard tells me during a phone call earlier this week. “I just loved the color purple; it comes from the flowers that bloomed in the yard.”\u003c/p>\n\u003cfigure id=\"attachment_13894888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00096-800x535.jpg\" alt='Marcella Hubbard, wearing all purple and a COVID-19 safe protective face shield, sits in front of a huge \"100\" sign as she celebrates her 100th birthday.' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00096.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marcella Hubbard, wearing all purple and a COVID-19 safe protective face shield, sits in front of a huge “100” sign as she celebrates her 100th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1943, Mrs. Hubbard came to the Bay Area for the first time, landing a job in a factory in Sausalito during World War II; in 2014 she was honored for her work there as a \u003ca href=\"http://www.winwebnews.com/2018/03/louisville-native-received-rosie.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rosie The Riveter\u003c/a>.\u003c/p>\n\u003cp>In the mid-1900s, she traveled back and forth between the Bay Area and the south, eventually graduating from Mississippi Valley State University with a degree in education. In 1946, she married Rev. B.C. Turnipseed. The two oversaw a church in Mississippi, where equity was preached and voters were registered.\u003c/p>\n\u003cp>In 1963, after her husband died, Marcella and her only child, Angeline Eichelberger West, moved to the Bay Area permanently. First living with family on 60th Street in North Oakland, she eventually bought a home on 63rd Street, where the family has lived since the 1970s.\u003c/p>\n\u003cp>Marcella got re-married, this time to a man by the name of M. L. Hubbard. She worked a number of different jobs: in addition to being an educator, she was a seamstress, a social security administrator, and a longtime employee at a local office for the Internal Revenue Service. Active in her \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/dhs/documents/marketingmaterial/oak069507.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">North Oakland community\u003c/a>, she was an early pioneer in urban gardening through her involvement with the Golden Gate Community Garden on 62nd Street.\u003c/p>\n\u003cfigure id=\"attachment_13894893\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00042-800x535.jpg\" alt=\"A pickup truck full of family members drives in the parade to celebrate Marcella Hubbard's 100th birthday. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00042.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pickup truck full of family members drives in the parade to celebrate Marcella Hubbard’s 100th birthday. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She joined the New Hope Baptist Church in 1964, and through that institution has worked with young folks who were incarcerated at Juvenile Hall, off 150th Avenue in East Oakland.\u003c/p>\n\u003cp>“A lot of time they would bring the boys to the church with them, they’d give them gifts and bibles, and talk to them,” says LaTasha Mitchum, Mrs. Hubbard’s oldest grandchild. “A lot of the boys, once they got out of trouble, they’d come looking for her.”\u003c/p>\n\u003cp>Marcella Hubbard’s life has been so storied that at her 70th birthday party, family members chose parts of her life to depict in theatrical form, according to her youngest grandchild, Rasheeda West-Johnson.\u003c/p>\n\u003cp>“She is walking history,” says Rasheeda during a phone call on Monday. Rasheeda says in her grandmother’s older years, she’s been more transparent about her life’s experiences—especially as they pertain to racism.\u003c/p>\n\u003cfigure id=\"attachment_13894898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00053-800x535.jpg\" alt=\"A car celebrating Marcella Hubbard's 100th birthday crosses Martin Luther King Jr. Way in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00053.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A car celebrating Marcella Hubbard’s 100th birthday crosses Martin Luther King Jr. Way in Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t know that her first husband who was a preacher had to move out of Mississippi where they were because of Jim Crow, and that they were trying to lynch him because the church that they oversaw was trying to preach and teach equal rights,” says Rasheeda.\u003c/p>\n\u003cp>Because her children like to be in “grown folks’ business\u003cem>,” \u003c/em>Rasheeda has been very intentional to have the young ones present when her grandmother feels like talking.\u003c/p>\n\u003cp>“I make sure that the boys are around so that they can get firsthand knowledge of what’s going on,” says Rasheeda, questioning how much society has progressed in the decades since her grandmother was her children’s age. “I don’t even know if you’d call it an evolution… We’re still experiencing a lot of the same things. But for my children, it’s just acknowledging who she is and what she’s gone through. And having the utmost respect for her, because she’s lived a life that’s been extremely full.”\u003c/p>\n\u003cfigure id=\"attachment_13894897\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/DSC00106-800x535.jpg\" alt='A \"Happy Birthday Marcella\" sign mounted in the window of an automobile. ' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/DSC00106.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Happy Birthday Marcella’ sign mounted in the window of an automobile. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith COVID-19, the family was concerned that Mrs. Hubbard wasn’t going to be able to have the type of party that she envisioned, as she’s grown accustomed to having sizable celebrations at the end of each decade. But they managed to bring everyone together in the safest fashion possible.\u003c/p>\n\u003cp>Samauri Ware, Mrs. Hubbard’s middle grandchild, says that when they pulled up to the church last Saturday, Mrs. Hubbard kind of “bounced” out of the car. Samauri says, “It was just shocking to me. I was like, ‘She’s excited!'”\u003c/p>\n\u003cp>Up and active is how I’ve usually seen Mrs. Hubbard. Over the years I’ve talked to her through my mom’s backyard fence, as she’s often gardening, growing purple peas, purple greens and, of course, purple flowers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When we last spoke, she told me she feels great being 100. The key to success? Mrs. Hubbard says, “Well, I try to be an honest person, and I like to work and help others. And I love God.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Tips to Ditch Fast Fashion and Cultivate a Sustainable Closet",
"headTitle": "5 Tips to Ditch Fast Fashion and Cultivate a Sustainable Closet | KQED",
"content": "\u003cp>When fashionable clothes can be so cheap, it can be easy to fill up virtual shopping carts just for the rush of the purchase. But this attitude of excess has led to mass over-production and a clothing waste crisis.\u003c/p>\n\u003cp>“Ultimately, any item of clothing that you get rid of is going to end up in the landfill because the technological solutions just really aren’t at scale yet to do something different with it,” says Elizabeth Cline, author of \u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>.\u003c/p>\n\u003cp>Less than \u003ca href=\"https://www.ellenmacarthurfoundation.org/assets/downloads/A-New-Textiles-Economy_Summary-of-Findings_Updated_1-12-17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1% of all clothing\u003c/a> material is ever recycled back into new clothes. And of the clothes we donate to charity, only a fraction gets resold in stores. Much of what doesn’t sell gets shipped in bulk and \u003ca href=\"https://slate.com/human-interest/2012/06/the-salvation-army-and-goodwill-inside-the-places-your-clothes-go-when-you-donate-them.html\" target=\"_blank\" rel=\"noopener noreferrer\">sold internationally\u003c/a>.\u003c/p>\n\u003cp>The costs of fast fashion are huge to the environment and to the people making clothes. Each year the fashion industry consumes approximately \u003ca href=\"https://www.nature.com/articles/s43017-020-0039-9).\" target=\"_blank\" rel=\"noopener noreferrer\">79 trillion liters of water and then throws out 92 million tons of waste. \u003c/a>To make clothes so quickly and affordably, factory workers are often underpaid and operate in unsafe working conditions.\u003c/p>\n\u003cp>It can make us feel powerless, as individuals, to do something about it. But there are ways to shop smarter and to curate a more eco-and ethically conscious closet. Here are some takeaways the experts recommend:\u003c/p>\n\u003ch3>1. Don’t think of your clothes as disposable.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894014 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png\" alt=\"\" width=\"774\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-768x508.png 768w\" sizes=\"(max-width: 774px) 100vw, 774px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Symphony Clarke, known as the \u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">Thrift Guru\u003c/a> on social media, has noticed that a lot of her peers feel pressure to keep up with trends online. Some even feel like they can’t post a picture in the same outfit twice. “That’s the lifespan of their clothing. Once a picture is taken, it’s done,” she says.\u003c/p>\n\u003cp>To abandon that attitude of excess, change your mindset! Buy with the notion that what you purchase should stay with you. Clarke recommends a 30-wear test: When shopping, ask yourself if you’d wear that item 30 times or more.\u003c/p>\n\u003cp>The other way to extend the lifespan of your clothing is with a little more TLC.\u003c/p>\n\u003cp>“Taking care of clothes…I think it can feed the soul. It’s just a very good life skill to have,” says Cline. (We have a \u003ca href=\"https://www.npr.org/2019/12/17/789172148/how-do-i-get-this-out-your-guide-to-stain-removal\" target=\"_blank\" rel=\"noopener noreferrer\">Life Kit episode all about getting stains out\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H7l2FAIjccU\u003c/p>\n\u003ch3>2. Revamp or “thrift flip” your clothing and accessories.\u003c/h3>\n\u003cp>Clarke established her own personal style by revamping—taking something old and changing it up. She gives clothes a fresh feel by cutting them up or adding some new details.\u003c/p>\n\u003cp>“Go in your closet and say, hey, how can I switch up this old crewneck or this old hoodie that I had? Maybe I could cut it and crop it [into] a whole different item,” Clarke suggests.\u003c/p>\n\u003cp>Watch YouTuber \u003ca href=\"https://www.youtube.com/channel/UCTeNpbcaDZWZiCPziLWkOYw\" target=\"_blank\" rel=\"noopener noreferrer\">Nava Rose\u003c/a>‘s revamps or search YouTube or TikTok for thrift revamps or thrift flips. One useful hashtag to search is #DIYnosew—so that no sewing is required.\u003c/p>\n\u003ch3>3. Get rid of your clothing responsibly.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894010 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93.jpg 1436w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Marie Kondo’s popular approach was to throw out that which no longer brought us joy. But be intentional about how you donate.\u003c/p>\n\u003cp>“It has a much, much higher chance of finding a second life [by] finding another person who’s excited to wear it,” Cline says.\u003c/p>\n\u003cp>For instance, you could organize a clothing swap with friends or sell your unneeded items on resale sites like \u003ca href=\"https://www.thredup.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ThredUp\u003c/a>, \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a>, \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://www.therealreal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Real Real\u003c/a>. To attract buyers, Clarke recommends modeling your clothes instead of taking a picture on the floor, so shoppers can see what it looks like on. Good lighting and ironed clothes can also boost your sales.\u003c/p>\n\u003ch3>4. Buy second-hand when you’re in the mood for something “new.”\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894008 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Since the pandemic means many people avoid extra in-person shopping, thrifting online is more and more widespread.\u003c/p>\n\u003cp>“You don’t have to have the hassle of going into the thrift store and feeling overwhelmed,” Clarke says.\u003c/p>\n\u003cp>You can buy on the same sites people sell their clothes. Apps like \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a> let you search for specific items.\u003c/p>\n\u003ch3>5. Get educated.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894011 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Learn to look out for greenwashing and campaigns for a fairer, more sustainable fashion industry.\u003c/p>\n\u003cp>“Greenwashing is when companies either intentionally mislead consumers or just oversell and embellish the efforts they’re making to be more sustainable,” Cline explains.\u003c/p>\n\u003cp>To learn more, she recommends a site called \u003ca href=\"https://goodonyou.eco/\" target=\"_blank\" rel=\"noopener noreferrer\">Good On You\u003c/a> and a nonprofit called \u003ca href=\"https://remake.world/\" target=\"_blank\" rel=\"noopener noreferrer\">Remake\u003c/a>. Remake’s \u003ca href=\"https://remake.world/wp-content/uploads/2020/11/2020-Remake-Transparency-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">transparency reports\u003c/a> give brands sustainability scores. And once you’re educated, consider getting more involved.\u003c/p>\n\u003cp>“We can’t forget that the problems in the fashion industry are systemic and that we have to have systemic solutions to these issues as well,” Cline says.\u003c/p>\n\u003cp>PayUp Fashion, a campaign Cline co-founded, pushes against exploitative practices in the fashion industry. It’s supporting \u003ca href=\"https://payupfashion.com/everything-you-need-to-know-about-californias-landmark-garment-worker-protect-act/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s Garment Worker Protection Act\u003c/a>, which will hold fashion brands legally and financially accountable for what happens in their garment factories. A reminder there’s strength in numbers.\u003c/p>\n\u003cp>“This is the ultimate intersectional issue. It is the combination of race and gender and class and exploitation that [cuts] so many different ways,” Cline says.\u003c/p>\n\u003cp>But the potential for change is possible. It could lead us to a fashion future that’s better for workers, the planet, and potentially even your wardrobe.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Symphony Clarke runs her own \u003c/em>\u003ca href=\"https://www.shopthriftguru.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>revamped clothing website\u003c/em>\u003c/a>\u003cem>. You can also find her on \u003c/em>\u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.tiktok.com/@thethriftguru?lang=en&is_copy_url=1&is_from_webapp=v1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>TikTok\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://www.youtube.com/channel/UCbQuCnD-n9aNpVs4KN5V-0g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Elizabeth L. Cline is the co-founder of \u003c/em>\u003ca href=\"https://payupfashion.com/the-problem/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PayUp Fashion\u003c/em>\u003c/a>\u003cem> and author of \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/overdressed\" target=\"_blank\" rel=\"noopener noreferrer\">Overdressed: The Shockingly High Cost of Cheap Fashion\u003c/a> \u003cem>(2012) and \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>\u003cem> (2019).\u003c/em>\u003c/p>\n\u003cp>\u003cem>The podcast version of this story was produced by Fiona Geiran.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d love to hear from you. Leave us a voicemail at 202-216-9823, or email us at LifeKit@npr.org.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Life Kit, \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/life-kit\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>subscribe to our newsletter\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Tips+To+Ditch+Fast+Fashion+And+Cultivate+A+Sustainable+Closet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When fashionable clothes can be so cheap, it can be easy to fill up virtual shopping carts just for the rush of the purchase. But this attitude of excess has led to mass over-production and a clothing waste crisis.\u003c/p>\n\u003cp>“Ultimately, any item of clothing that you get rid of is going to end up in the landfill because the technological solutions just really aren’t at scale yet to do something different with it,” says Elizabeth Cline, author of \u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>.\u003c/p>\n\u003cp>Less than \u003ca href=\"https://www.ellenmacarthurfoundation.org/assets/downloads/A-New-Textiles-Economy_Summary-of-Findings_Updated_1-12-17.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1% of all clothing\u003c/a> material is ever recycled back into new clothes. And of the clothes we donate to charity, only a fraction gets resold in stores. Much of what doesn’t sell gets shipped in bulk and \u003ca href=\"https://slate.com/human-interest/2012/06/the-salvation-army-and-goodwill-inside-the-places-your-clothes-go-when-you-donate-them.html\" target=\"_blank\" rel=\"noopener noreferrer\">sold internationally\u003c/a>.\u003c/p>\n\u003cp>The costs of fast fashion are huge to the environment and to the people making clothes. Each year the fashion industry consumes approximately \u003ca href=\"https://www.nature.com/articles/s43017-020-0039-9).\" target=\"_blank\" rel=\"noopener noreferrer\">79 trillion liters of water and then throws out 92 million tons of waste. \u003c/a>To make clothes so quickly and affordably, factory workers are often underpaid and operate in unsafe working conditions.\u003c/p>\n\u003cp>It can make us feel powerless, as individuals, to do something about it. But there are ways to shop smarter and to curate a more eco-and ethically conscious closet. Here are some takeaways the experts recommend:\u003c/p>\n\u003ch3>1. Don’t think of your clothes as disposable.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894014 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png\" alt=\"\" width=\"774\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-15-at-12.17.57-PM-768x508.png 768w\" sizes=\"(max-width: 774px) 100vw, 774px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Symphony Clarke, known as the \u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">Thrift Guru\u003c/a> on social media, has noticed that a lot of her peers feel pressure to keep up with trends online. Some even feel like they can’t post a picture in the same outfit twice. “That’s the lifespan of their clothing. Once a picture is taken, it’s done,” she says.\u003c/p>\n\u003cp>To abandon that attitude of excess, change your mindset! Buy with the notion that what you purchase should stay with you. Clarke recommends a 30-wear test: When shopping, ask yourself if you’d wear that item 30 times or more.\u003c/p>\n\u003cp>The other way to extend the lifespan of your clothing is with a little more TLC.\u003c/p>\n\u003cp>“Taking care of clothes…I think it can feed the soul. It’s just a very good life skill to have,” says Cline. (We have a \u003ca href=\"https://www.npr.org/2019/12/17/789172148/how-do-i-get-this-out-your-guide-to-stain-removal\" target=\"_blank\" rel=\"noopener noreferrer\">Life Kit episode all about getting stains out\u003c/a>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H7l2FAIjccU'\n title='//www.youtube.com/embed/H7l2FAIjccU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>2. Revamp or “thrift flip” your clothing and accessories.\u003c/h3>\n\u003cp>Clarke established her own personal style by revamping—taking something old and changing it up. She gives clothes a fresh feel by cutting them up or adding some new details.\u003c/p>\n\u003cp>“Go in your closet and say, hey, how can I switch up this old crewneck or this old hoodie that I had? Maybe I could cut it and crop it [into] a whole different item,” Clarke suggests.\u003c/p>\n\u003cp>Watch YouTuber \u003ca href=\"https://www.youtube.com/channel/UCTeNpbcaDZWZiCPziLWkOYw\" target=\"_blank\" rel=\"noopener noreferrer\">Nava Rose\u003c/a>‘s revamps or search YouTube or TikTok for thrift revamps or thrift flips. One useful hashtag to search is #DIYnosew—so that no sewing is required.\u003c/p>\n\u003ch3>3. Get rid of your clothing responsibly.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894010 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-7-copy_slide-3a7c1681ea5d7963f6e1e8fb107cf2d253b9ef93.jpg 1436w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Marie Kondo’s popular approach was to throw out that which no longer brought us joy. But be intentional about how you donate.\u003c/p>\n\u003cp>“It has a much, much higher chance of finding a second life [by] finding another person who’s excited to wear it,” Cline says.\u003c/p>\n\u003cp>For instance, you could organize a clothing swap with friends or sell your unneeded items on resale sites like \u003ca href=\"https://www.thredup.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ThredUp\u003c/a>, \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a>, \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://www.therealreal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Real Real\u003c/a>. To attract buyers, Clarke recommends modeling your clothes instead of taking a picture on the floor, so shoppers can see what it looks like on. Good lighting and ironed clothes can also boost your sales.\u003c/p>\n\u003ch3>4. Buy second-hand when you’re in the mood for something “new.”\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894008 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-6_slide-f23a9445f9e5536bb3a36aba3df105d972ae1aac.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Since the pandemic means many people avoid extra in-person shopping, thrifting online is more and more widespread.\u003c/p>\n\u003cp>“You don’t have to have the hassle of going into the thrift store and feeling overwhelmed,” Clarke says.\u003c/p>\n\u003cp>You can buy on the same sites people sell their clothes. Apps like \u003ca href=\"https://www.depop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Depop \u003c/a>and \u003ca href=\"https://poshmark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Poshmark\u003c/a> let you search for specific items.\u003c/p>\n\u003ch3>5. Get educated.\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894011 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/life-kit_clothes-1-9_slide-92a36e04650b501705b144382c128508fb81c4bb.jpg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Learn to look out for greenwashing and campaigns for a fairer, more sustainable fashion industry.\u003c/p>\n\u003cp>“Greenwashing is when companies either intentionally mislead consumers or just oversell and embellish the efforts they’re making to be more sustainable,” Cline explains.\u003c/p>\n\u003cp>To learn more, she recommends a site called \u003ca href=\"https://goodonyou.eco/\" target=\"_blank\" rel=\"noopener noreferrer\">Good On You\u003c/a> and a nonprofit called \u003ca href=\"https://remake.world/\" target=\"_blank\" rel=\"noopener noreferrer\">Remake\u003c/a>. Remake’s \u003ca href=\"https://remake.world/wp-content/uploads/2020/11/2020-Remake-Transparency-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">transparency reports\u003c/a> give brands sustainability scores. And once you’re educated, consider getting more involved.\u003c/p>\n\u003cp>“We can’t forget that the problems in the fashion industry are systemic and that we have to have systemic solutions to these issues as well,” Cline says.\u003c/p>\n\u003cp>PayUp Fashion, a campaign Cline co-founded, pushes against exploitative practices in the fashion industry. It’s supporting \u003ca href=\"https://payupfashion.com/everything-you-need-to-know-about-californias-landmark-garment-worker-protect-act/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s Garment Worker Protection Act\u003c/a>, which will hold fashion brands legally and financially accountable for what happens in their garment factories. A reminder there’s strength in numbers.\u003c/p>\n\u003cp>“This is the ultimate intersectional issue. It is the combination of race and gender and class and exploitation that [cuts] so many different ways,” Cline says.\u003c/p>\n\u003cp>But the potential for change is possible. It could lead us to a fashion future that’s better for workers, the planet, and potentially even your wardrobe.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Symphony Clarke runs her own \u003c/em>\u003ca href=\"https://www.shopthriftguru.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>revamped clothing website\u003c/em>\u003c/a>\u003cem>. You can also find her on \u003c/em>\u003ca href=\"https://www.instagram.com/thethriftguru/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Instagram\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.tiktok.com/@thethriftguru?lang=en&is_copy_url=1&is_from_webapp=v1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>TikTok\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"https://www.youtube.com/channel/UCbQuCnD-n9aNpVs4KN5V-0g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>YouTube\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Elizabeth L. Cline is the co-founder of \u003c/em>\u003ca href=\"https://payupfashion.com/the-problem/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>PayUp Fashion\u003c/em>\u003c/a>\u003cem> and author of \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/overdressed\" target=\"_blank\" rel=\"noopener noreferrer\">Overdressed: The Shockingly High Cost of Cheap Fashion\u003c/a> \u003cem>(2012) and \u003c/em>\u003ca href=\"https://www.elizabethclinebooks.com/the-conscious-closet\" target=\"_blank\" rel=\"noopener noreferrer\">The Conscious Closet: A Revolutionary Guide to Looking Good While Doing Good\u003c/a>\u003cem> (2019).\u003c/em>\u003c/p>\n\u003cp>\u003cem>The podcast version of this story was produced by Fiona Geiran.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We’d love to hear from you. Leave us a voicemail at 202-216-9823, or email us at LifeKit@npr.org.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Life Kit, \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/life-kit\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>subscribe to our newsletter\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+Tips+To+Ditch+Fast+Fashion+And+Cultivate+A+Sustainable+Closet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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